The Parallax View on Criterion Collection

"In part one of Parallax Views on The Parallax View, noted film historian Joseph McBride gives his thoughts on The Parallax View (1974) as well as to discuss the film in the context of the Kennedy assassination, the Nixon Presidency and Watergate, and the rise of New Hollywood. He also offers some personal stories about The Parallax View‘s director Alan J. Pakula, discusses the technical aspects of the film such as the lauded cinematography done by Gordon Willis, and much more." Reviewing films depicting political assassination conspiracies for The Guardian, director Alex Cox labelled The Parallax View the "best JFK conspiracy movie". Film critic Matt Zoller Seitz has called the film, "a damn near perfect movie". It has an approval rating of 89% on Rotten Tomatoes. Joseph McBride: I asked him Alan J Pakula during the making of All The President's Men if he had heard, based on information I had been given by a friend who was an RFK assassination researcher, that journalist Bob Woodward was a covert ONI or CIA agent. Pakula's actual reply to me was, "I've heard that, but if I think about it while making this movie, I'll go crazy." His comment to me on Woodward shows his savvy but the limits of how far he wanted or could go. Billy Wilder's The Front Page from 1974 can be read as a satire of the media frenzy over Woodward & Bernstein and is a strong indictment of the callousness and dishonesty of the press; Wilder had worked as reporter during his Vienna and Berlin days and saw through some of the Washington Post's fabrications. I think someone should do an honest film about Woodward & Bernstein. My friend Rod Lurie, a former film critic who is now a writer-director—I helped get him into the LA Film Critics Association after he was blackballed for having suggested a remake of All The President's Men. 

Oliver Stone's superb, underrated NIXON does deal with Watergate extensively and serves as a corrective. Most reviewers missed the subtle JFK conspiracy connections in that film. I gave it a rare five stars when I reviewed it as the first film I reviewed for Boxoffice. I dropped a note to Oliver Stone suggesting he do LBJ to complete a presidential trilogy, but to my surprise he wrote back and said LBJ never interested him. The Richard Helms scene at Langley is extended in the Director's Cut where Sam Waterston (playing Helms) leans over to sniff the Angleton orchids, then stares at Nixon with solid-black eyeballs, amid some trippy film effects that suggest Nixon has seen in those eyes an unnerving revelation about CIA power. Maybe the scene was slashed because Stone fought to keep the black eyeballs in. If there's anything missing in Nixon, it's in the treatment of Nelson Rockefeller as political wallpaper, a period character who appears at a cocktail party and is never considered again. There was an increasing number of Rockefeller-sourced appointees in Nixon's two admins; some of them worked to accelerate the Watergate furor. There was a disturbing Rockefeller influence on the Gerald Ford administration as well. 

Deep Throat in All The President's Men is a character that was suggested to Bernstein & Woodward (Bernstein received top billing on the book) by their agent, Alice Mayhew, after she read the first draft, in which no such character appears. Yes, it's a composite of all the various intelligence sources Bob Woodward had. Their identification of the the senile ex-FBI official Mark Felt as supposedly being Deep Throat was, in Watergate lingo, a "limited hangout," since it's likely he was just one of their sources. In The Parallax View, the Senator being shot on the West Coast with a pistol made me think instantly of RFK. Then that ending. Beatty coming to realize he is the patsy, trapped, killed. Like what was supposed to have happened to Lee Harvey Oswald. 

Remastered on Blu-Ray, The Parallax View has been released on Criterion Collection on February 9, 2021. Nathan Heller's essay for Criterion Collection: The mystery of a senator’s murder is of less concern to The Parallax View than the insidious corporatization of America. Murder is committed here for hire, rented out and divorced of the personality and neuroses that drove, say, many a killer from a Hitchcock film, while modernist buildings are utilized to signify alienation in the key of Antonioni and Godard. The opening image—of a totem pole that obscures the Space Needle from a certain point view—signals the film’s ongoing obsessions with erasure and co-option. Joe Frady’s trip to a small woodsy town initially feels like a warm refuge from the chilly office corridors that haunt so many Pakula films, until Parallax is revealed to be capable of influencing people even there. Tellingly, evil is revealed via a large ominous structure—a dam with an alarm that sounds like a dinosaur’s death rattle. Lee Carter (Paula Prentiss), the TV news reporter covering the Space Needle event, arrives unannounced at the residence of her former boyfriend Joe Frady (Warren Beatty), an Oregon investigative journalist who was also at the event. She claims several people who witnessed the assassination have turned up dead in mysterious circumstances. And the film’s scariest sequence, scarier than A Clockwork Orange’s corresponding set piece, finds Frady watching a Parallax recruiting video, which shows how easily images of American harmony can be flipped—or seen from a different vantage point—to emphasize the decay and exploitation lingering underneath. And in this moment we’re left with a lingering ambiguity: Is the video playing up to the psychosis of potential Parallax freelancers or revealing the truth of society? 

The movie was loosely inspired by conspiracy theories around the John F. Kennedy and Robert F. Kennedy assassinations, but in this respect it adds a wholly new landscape of terror. Of the film’s nod to the first Kennedy assassination, the writer David Kurlander told me, “Had this iconic assassination taken place ten years later, in a far taller and more future-shocked, privatized world, perhaps it would have looked more like this.” Also, Beatty's admiration for RFK was the main reason that made him do the film. Nixon described Ted Kennedy as the gregarious natural politician, JFK as a quiet and private man, and RFK as having the passion and vigour of a Benedictine monk. The arrival of the seventies ushered in the high age of what’s often called neo-noir: a return to old genre forms at a moment when irresolute underbelly dramas seemed to catch the mood of the nation. But unlike full-on neo-noir projects like The Long Goodbye or Body Heat or Chinatown (whose screenwriter, Robert Towne, did uncredited work on The Parallax View). What he created instead was a noir of urban modernity—“a darkness shining in brightness,” to quote Ulysses—that was specially suited to an aborning corporate age. It was central to Pakula’s conception of The Parallax View that Frady never actually takes the corporation’s sociopath test. Instead, he gives it to a known killer, opening up a nagging uncertainty at the core of the plot. Is the test any good? Does it really sort nutters from law-abiding citizens? And which is Frady? Just as Willis shot all close-ups at the same range, we’re kept at a fixed distance from the workings of our hero’s mind—a parallax view in the sense that things may look different depending where we stand. The line between who’s clearheaded and who’s crazed, who sees whose weaknesses well enough to manipulate them, blurs. Through its parable of failure, it puts forth the possibility of institutional society done right. The movie is a plea for better power structures and a wiser choice of heroes. Its entreaty—like its nightmare—is still fresh for the United States. Source: www.criterion.com

Con-Artists: "I Care A Lot", "Uncut Gems"

Rosamund Pike plays Marla Grayson, a con artist whose grift is particularly cruel: She bribes a doctor into declaring elderly people unable to look after themselves, then becomes their court-appointed legal guardian. Marla is savvy and severe, but her greatest skill as a scammer is her knowledge of the countless ways that legal and health-care bureaucracies leave the elderly and disabled vulnerable. Under the guise of protecting her patients, Marla easily persuades doctors to alter their medications and isolate them from the loved ones who might guard them from her ploy. More neo-noir than nuanced character study, I Care A Lot's writer-director Jonathan Blakeson’s film nonetheless shows how easily a shrewd scammer can manipulate systems that already cause grave harm. The treacherous face-off between combatants ostensibly on opposite sides of the law wades into dark comedy territory, especially when Marla's indignation is spiked by Roman resorting to thuggery rather than beating her fair and square in the courts. The inference that her entire scheme is considered more or less legal makes the whole scenario even queasier. 

"To make it in this country you need to be brave and stupid and ruthless and focused," says Marla while tied to a chair at mobster Roman's mercy. "Playing fair, being scared, that gets you nowhere. That gets you beat." The main problem is that Blakeson gets cold feet when it comes to keeping Marla an aggressively vile presence deserving of moral condemnation, which applies the brakes on the picture. So “I Care a Lot” limps to a close, which is a shame, as it opens with fantastic authority, promising a character study of a loathsome psychopath that’s never fully realized. Source: www.theatlantic.com

Uncut Gems (2019) begins with an unusual transition sequence, where we first see a badly injured Ethiopian miner and a mob of fellow Ethiopian miners on the verge of revolting against what looks to be Chinese mine-owners. Through a presumed smuggling network, an unscrupulous Jewish jeweler in NYC tries to sell these opal gems and other shiny things to black rappers and superstitious NBA stars with a surfeit of disposable income. Uncut Gems is very much a critical reflection on modern Jewish identity and one of the most self-consciously Jewish films since the Coen Brothers’ A Serious Man (2009). Uncut Gems centers on the manic Howard Ratner (Adam Sandler), a jeweler in NYC’s seedy Diamond District, whose life is nothing short of a high-wire enterprise on a near daily basis. Howard has a mistress named Julia DeFiore (Julia Fox) who works at his jewel store and lives in his apartment (far removed from the suburban home he shares with his estranged wife and family). And, most importantly, Howard is a compulsive speculator and gambler, whose downwardly spiraling habits threaten his own sanity and welfare.

In The Ordeal of Civility (1974), John Murray Cuddihy draws attention to how the Jewish sense of persecution underwent something of a narrative reboot in the nineteenth century (which radically accelerated after World War II). Cuddihy points out that whereas pre-modern Diaspora Jewry explained its Exile “as a punishment from God for its sins,” beginning in the nineteenth century—after Jews were granted civic emancipation in the predominately Christian nations of the West—secular Jewish elites began to re-frame the Jewish Diaspora in secular terms: "Before Emancipation, Diaspora Jewry explained its Exile as a punishment from God for its sins. After Emancipation, this theodicy, now turned outward to a new, Gentile status-audience, becomes an ideology, emphasizing Gentile persecution as the root cause of Jewish “degradation.” This ideology was so pervasive that it was shared, in one form or another, by all the ideologists of nineteenth-century Jewry: Reform Jews, Zionists and Communists—all became virtuosos of ethnic suffering. The point is that these Diaspora groups were uninterested in actual history; they were apologists, ideologists, prefabricating a past in order to answer embarrassing questions, to outfit a new identity, and to ground a claim to equal treatment in the modern world." (Cuddihy, p. 177) “I don’t care if Americans think we’re running the news media, Hollywood, Wall Street or the government,” Jewish columnist Joel Stein bragged in the Los Angeles Times in December 2008. “I just care that we get to keep running them.” Mr Stein’s reckless candor cost him his job at the LA Times. As F. Scott Fitzgerald reflected on the Hollywood of the 1930s in The Last Tycoon (1941): "Hollywood is a Jewish holiday, and a gentile's tragedy." 

In many lengthy sequences, Uncut Gems is unnerving to watch, due to the cacophony of voices talking over each other with extreme intensity, and within an environment of constant crisis and chaos, like a continuous cinematic panic attack, all of which is accentuated by Darius Khondji’s cinematography and the film’s frenetic pace. Of the film’s noise pollution, P.J. Grisar, writing in The Forward, puts it this way: “Jewish auteurs’ resistance to examining a Howard Ratner is understandable. There’s a justifiable fear that such characters are 'a shande far di Goyim.'” In a similar vein, Noah Kulwin, in a review of the film titled “In Praise of the Difficult Jew”, goes so far as to say: "Ratner is the latest in a long line of Jewish perverts and idiots, men whose fundamentally crude nature can overpower nearly all other parts of their personality. It’s a key part of what makes Adam Sandler so well-suited to the role, given the gross-out nature of his oeuvre, and his portrayal revives a variety of Jewish stereotypes." Gabe Friedman, in his review for the Jewish Telegraphic Agency, notes how the film “deeply explores modern Jewish identity.” Heather Schwedel refers to Uncut Gems in Slate magazine as an “extremely Jewish film.” According to Richard Brody in The New Yorker: "The panic and the paranoia that drive Howard have an underlying historical undercurrent, a weird sense of belonging that he finds in the uncertainty, the instability, the terror, the exclusion that he endures—even if he largely brought it on himself." 

Ultimately, however, Uncut Gems fails due to a series of fundamental flaws. The script feels incomplete. Various characters are shown, in passing, vocalizing digressive and inconsequential asides. There is the prevailing chaos in dialogue and miscellaneous diegetic sound. There is the agonizing weight of profanity used throughout the film. But the most serious and critical flaw is that Howard Ratner is not a character we can feel sorry for, root for, or even care about. He displays no dignity and his narcissism is boundless. The film’s defenders will likely offer some form of postmodern argument that this is deliberate and provocative, that standard character arcs—especially when this arc may involve redemption or growth—are passé, etc. 

But when the audience doesn’t care about a movie’s protagonist in any substantive way, that movie will be forgotten in time. The phenomenon of Jewish neuroticism, while often joked about in Hollywood comedies (Woody Allen, Judd Apatow) or elaborated upon in Jewish literature (Philip Roth, Sam Munson), is—like other Jewish “stereotypes”—typically a subject that non-Jews writers are not allowed to broach, else they be branded anti-Semites. The stereotypes of Jewish intensity, overcompensation, obnoxiousness, money obsession, sexual addiction, paranoia, and continuous persecution complex are on full display in Uncut Gems, as is that world-weary form of Jewish pessimism which, in this case, seems to have its ultimate expression in the lead character’s suicidal death wish. Source: theoccidentalobserver.net

2021 Golden Globes, Rosamund Pike (I Care a Lot), The Mensch Comedy (Palm Springs)

2021 Golden Globe Awards Winners:

Best Performance by an Actor in a Motion Picture - Drama: Chadwick Boseman (Ma Rainey's Black Bottom)

Best Performance by an Actress in a Motion Picture - Drama: Andra Day (The United States vs. Billie Holiday)

Best Performance by an Actor in a Limited Series or a Motion Picture Made for Television: Mark Ruffalo (I Know This Much Is True)

Best Performance by an Actress in a Limited Series or Motion Picture Made for Television: Anya Taylor-Joy (The Queen's Gambit)

Best Motion Picture and Director: Nomadland (Chloé Zhao)

Best Screenplay - Motion Picture: The Trial of the Chicago 7 (Aaron Sorkin)

Best Motion Picture - Animated: Soul

Best Motion Picture - Foreign Language: Minari

Best Performance by an Actor in a Motion Picture - Comedy: Sacha Baron Cohen (Borat Sequel)

Best Performance by an Actress in a Motion Picture - Comedy: Rosamund Pike (I Care a Lot)

Rosamund Pike is astonishingly good in "I Care a Lot", tearing into her role with the same icy menace that made her Oscar-nominated performance in Gone Girl so indelible and like the script she’s working from, there’s such restraint with her venom that it makes her all the more terrifying. The Oscar nominee resurrects the icy menace of her Gone Girl performance in a darkly comic and bracingly nasty tale of a morally bankrupt legal guardian. Pike plays Marla Grayson, a professional legal guardian undaunted by ethical guidelines so long as she can skim a few extra dollars from her aging clients. She’s a satirical encapsulation of American capitalism gone haywire in the mold of Chuck Tatum from Billy Wilder's “Ace in the Hole” or Lou Bloom from “Nightcrawler.” Pike’s performance as anti-heroine Marla in “I Care a Lot” is the stuff of goosebumps, perversely tickling the dark side of the funny bone at the same time as it sends a chill up the spine. With the limelight squarely fixed on her, it’s easier to see Pike’s bold, distinct choices as an actress and how they shape such an indelible character. Because she cuts such an imposingly large and cleanly calibrated presence across the film, the brute force of the mechanisms through which she simplifies complex questions of legality become an indictment of the darkest side of capitalism. Source: theplaylist.net

Richard Brody: It's a pity that Palm Springs didn't get any Golden Globe. It's far way better than Borat Sequel. Andy Samberg may not be the most charismatic performer but he plays comedy with heart. The inescapable sentimentality of the way Conner4Real’s career crisis was resolved in Popstar—a resolution that’s been a staple of American comedy since Billy Wilder (the edifying message of “Be a mensch”)—finished off a torrent of gleeful gibberish that’s among the most inspired recent comedic visions, alongside Ben Stiller's Zoolander. And Samberg's hilarious songs in “Popstar: Never Stop” offered an additional enticement, bending the lyrics and his stage persona into another loopy dimension of astonishment. “Popstar: Never Stop” was indeed a well-tuned satire of celebrity self-indulgence.  

"Why don't you grow up a little, Baxter?" Behave like a mensch! Do you know what it means? A mensch is a human being,” Dr. Dreyfuss (Jack Kruschen) exhorts C. Baxter (Jack Lemmon) in The Apartment (1960) directed by Billy Wilder. This injunction, “Be a mensch!” crosses a large section of American comedy, from its origins at the beginning of the twentieth century to the present day. Taken from the Jewish word "mentsch", the term entered into everyday language to define the moral man, the one who seeks to do good around him. The mensch type morphs into a typically American philosophical reflection of "moral perfectionism," of which Stanley Cavell offered great examples through his analysis of “remarriage comedies.” Cavell  was most known for his essay The Claim of Reason: Wittgenstein, Skepticism, Morality, and Tragedy (1979), which forms the centerpiece of his doctoral dissertation. In Pursuits of Happiness (1981), Cavell dissects his experience of seven prominent Hollywood classic comedies: 

The Lady Eve, It Happened One Night, Bringing Up Baby, The Philadelphia Story, His Girl Friday, Adam’s Rib, and The Awful Truth. Cavell argues that these films, from 1934–1949, form part of what he calls the genre of "The Comedy of Remarriage," and finds in them great philosophical, moral, and political significance. Specifically, Cavell argues that these comedies show that "the achievement of happiness requires not the satisfaction of our needs, but the examination and transformation of those needs." According to Cavell, the emphasis these movies place on the theme of remarriage draws attention to the fact that, within a relationship, happiness requires "growing up" together with a partner. Comedy is not the only genre in which a mensch may shine, but what could be more comical indeed than the tensions between a quest for morality and a resounding failure—however temporary—to achieve it? Whether he is adored or hated (usually seen by others as a schlemiel or pathological loser), the mensch is a endless source of laughter, intelligence and mixed emotions. Source: www.newyorker.com

Andy Siara: I thought one of the obvious meanings of Palm Springs was learning how to grow up and move on with your life. Nyles is a jaded man who has lived the same day over and over and he realizes nothing he does has any consequences. There’s no meaning or purpose. Then Sarah comes into the picture, they start to like each other, and they start to hurt each other. Eventually, the only way they can be together is if he takes a chance with her to try and go back to reality where their lives could have meaning. He decides to take a leap of faith with her, because dying is better than contemplating living in the loop without her. To me, the “loop” that Nyles is stuck in is symbolic of the “loop” a lot of people choose to get themselves stuck in their lives. All of the science of the time loop is based on real science. Theoretical Physicist Clifford V. Johnson (a professor at the University of Southern California Department of Physics) served as consultant on the movie. We were lucky to know there are some physical events in the universe that could cause a rupture in the space-time continuum, which would be represented in this world by something like an earthquake or a cave opening, which we already had written in the script. 

“It’s a love story,” said Palm Springs' director Max Barbakow: “But also there are bigger existential life questions, that’s what makes it so special.” “There’s definitely a running theme of loneliness and being stuck,” said Andy Samberg: “And also the idea of taking the leap into committing to somebody and being with another person for the long term.” “I feel like we really subverted the rom-com,” Cristin Milioti said. Samberg chimed in, “It’s more of a ‘melange of genres’.”

In his script, Siara made sure that both Nyles and Sarah got to be complex characters. They are both intelligent, childish, scared of relationships and lying to themselves. Their acceptance of something more romantic unfolds in a natural way. Samberg and Milioti deserve a lot of credit for this. The "trope" of two people who seemingly despise each other before magically falling in love has a long history. Consider Rosalind Russell and Cary Grant flinging vicious verbal barbs at one another in "His Girl Friday," all while being sucked into each others' orbit. Who else could put up with either one of these people? They are perfect for each other!  "Palm Springs" is genuinely romantic, in a way that sadly feels old-fashioned—but it isn't. Falling in love is not what either Nyles or Sarah expected at that moment in their lives. During one of their crazy stunts, Nyles tells Sarah, “Your best bet is just to learn how to suffer existence,” mutating briefly into Schopenhauer. If you've ever spent a holiday weekend at a resort in Palm Springs, floating in the pool for days straight, surrounded by palm trees and old Hollywood paradise vibes, you might understand how the whole place feels like time has stopped still. Source: www.eonline.com

Luckiest Girl Alive (Mila Kunis), Promising Young Woman (Carey Mulligan), Andy Samberg

If she wasn’t already, Mila Kunis is now the “Luckiest Girl Alive,” signing on to star in the film adaptation of the best-selling novel for Netflix. Kunis stars as Ani Fanelli in the upcoming film, based on Jessica Knoll’s 2015 New York Times best-selling thriller about a New York magazine editor whose “meticulously crafted life” is upended when a crime documentary forces her to relive the shocking truths of a devastating incident from her teenage years. The “Bad Moms,” “Black Swan” and “Forgetting Sarah Marshall” star will also produce the project under her Orchard Farm Productions banner. The film is being shepherded by producers Bruna Papandrea and Jeanne Snow for Made Up Stories and Erik Feig and Lucy Kitada for Picturestart, the latter of which will oversee the production. Papandrea and Feig have been attached to produce “Luckiest Girl Alive” since they acquired the rights to Knoll’s best-seller novel in 2015. 

Novel Spoilers: The plot twist is that you don't know if Ani has been telling us a true story or if she actually did orchestrate and participate in her school shooting. That is why the police officer sarcastically called her The Luckiest Girl Alive. Because you would have to be lucky to survive a horrific murder spree that killed all your enemies and you escape without a scratch. You really think Arthur just offered her the gun without her being in on it? You really think she could have overpowered big Arthur the mass murderer without him thinking she was his friend? There is a good chance her prints are on the gun because she shot Dean, who had assaulted her sexually. It's the classic twist of the unreliable narrator. Knoll is adapting the screenplay and will serve as an executive producer on the film, directed by Mike Barker. Source: variety.com

Cassie’s escapades are ultimately self-destructive, and Promising Young Woman becomes as much about retribution as the difficulty of moving on after trauma. We can thank Carey Mulligan for helping to bring such emotional weight to Fennell’s weird scripted material. Mulligan connects Cassie’s strength with her vulnerability; there’s a rawness and pain that belies the anger of her performance. She nails Cassie’s unhinged and unhealthy state of mind in a key sequence, scored to Wagner’s darkly epic piece “Liebestod” from Tristan and Isolde, when she attacks a jerk’s pickup truck with a crowbar. While audiences might initially enjoy watching her smash the guy’s windshield, the camera pulls back to reveal Cassie as a wounded and solitary individual. The romance seems a bit of a box to check, at least initially, but Burnham is quite charming, and the writing at the end of their first date scene is so precise and so well observed, it’s sort of startling. Mulligan and Burnham have a sweet, unforced chemistry; you’re really pulling for them, which is sort of cruel (but effective). Promising Young Woman builds to a truly shocking climax that delivers Fennell’s themes with a dark and twisted sense of humour—and justice. It’s a clever and unexpected turn in a film full of surprises. Cassie's ending is not happy, but it's heroic. And the end credit music is a song called “Last Laugh,” which may feel victorious. Source: theplaylist.net

Kaiser (Celebitchy): I ordinarily ignore Andy Samberg around here. It’s not a judgment on him at all–I think he’s incredibly cute and very funny, in a goofy-hot-boy-that-I-would-loved-in-college way. Anyway, I usually ignore him because I guess I think that no one else is that interested in him. Because I rarely–if ever?–pay attention to Andy Samberg at a gossip-level, I was pleasantly surprised by his Men’s Journal cover story. Did you know that Andy is 42 years old? Did you know that he’s been married to indie singer Joanna Newsom since 2013? Whom he started to date in 2008. Before Joanna, the only dating rumors about Andy were with Natalie Portman and Kirsten Dunst around 2006, according to Star magazine. "Star magazine exclusively reveals that Kirsten Dunst, 23, is dating Saturday Night Live funny man Andy Samberg, 27. On March 20, the two were seen getting cozy at Hollywood’s uber-trendy Hotel Café during a Jose Gonzalez concert. Goodbye Jake Gyllenhaal, goodbye Josh Hartnett and goodbye Tobey Maguire. Kirsten has lucked out with Andy. An eyewitness says he is quite the gentleman! There was no way Kirsten was getting back together with Jake Gyllenhaal." 

Did you know that Andy Samberg and Joanna Newsom met when he attended incognito one of her concerts and wrote her a love letter? He said Joanna was his "favorite person in the world." They have a little daughter and they’ve never released their daughter’s name publicly, and Andy still won’t refer to his daughter by her name in the media. Andy says "the birth of my daughter was the best moment of my life." This Men’s Journal piece also quotes several of his female co-workers, and they all are like “he’s a really woke ally to women.” The Mad Men/Don Draper spoof that Andy Samberg performed in the 67th edition of the 2015 Emmys was a perfect example of having the right instinct to start a great spoof and then just drive it off the rails. Jon Hamm confessed having felt mortified in a good way.

-Did you have a personal preference when it comes to breakups? Have you been usually the dumper or the dumpee?

-Andy Samberg: I’ve had my share of both. Actually, I don’t feel I’ve ever dumped anyone. It’s never been, “You know what? I’ve decided I don’t like you.” It’s been usually about the circumstances. I had a girlfriend in college, then I transferred because I wanted to go to film school, and the long distance made our relationship impossible. Things like that tended to happen to me. Not that I haven’t had some brutal breakups in the past. One time I was dating an actress and she told me, “Hey, I thought I was going to be on location for a film shoot for the next six months and now it looks like I won’t be, so we should break up.” I was like, “Okey dokey. I can tell I was really important to you.”

-You were voted the class clown in your high school. Did that title come with bragging rights?

-Andy Samberg: Remember, I went to Berkeley High, and being voted the best at anything was not something you bragged about. I had a friend who was six-five, superbuff, the blonde quarterback. We all made fun of him for being the quarterback. Berkeley is the inverse of the rest of America. We’d be like, “Oh great, you’re the quarterback. How cliché. We get it, you’re so handsome and talented.” Nobody got more ripped on than the quarterback at our high school. Source: celebitchy.com

'Can't Get You Out Of My Head' by Adam Curtis, Kerry Thornley and Lee Harvey Oswald

'Can't Get You Out Of My Head' (2021), Adam Curtis' new documentary suggests our innate flaws are what's holding society back and argues humanity’s worst enemy is itself. A new BBC documentary series from Bafta-winning filmmaker Adam Curtis has been broadly welcomed by critics. Several hailed the six-part series as "dazzling" and "terrifying", but others said it was "incoherent" and left them confused. Curtis has described it as an "emotional history of the modern world". It chronicles growing anxieties in the western world, and to do so, it takes in the scope of centuries, the influential stories of lesser-sung players and the ever-shifting tides of human psychology – and how the world’s power structures have, throughout generations, sought to bend it to their will. Luckily, he gives us a glimmer of a way out. “The ultimate hidden truth of the world is that it is something we make,” reads the keynote quote from American anarchist David Graeber, “and could just as easily make differently.” Our innate pessimism amid such an intricate and immutable world order, however, has us leaving Can’t Get You Out Of My Head fearing the worst. “Again and again,” Curtis says, “we’re getting this knocking at the door, whether it be the Occupy movement or Donald Trump or Brexit or Black Lives Matter, all arguing that there is something wrong and corrupted with the system of power. It’s always shooting out of the ground from different sources and I don’t think that it’s going to go away. But no one seems to have come up with what the alternative would be. What I’m trying to do in these films is explain why we feel so helpless and yet we want change.” The key to understanding today’s human population, it argues, is in recognising its subconscious patterns of behaviour. But the series itself exposes our most self-defeating pattern: that our innate flaws are destined to destroy any dream society we might ever imagine. That rotten systems are never really overthrown, they just mutate, that power breeds corruption, that political and social ideals are incompatible with human failings. As Curtis points out, all major world leaders have run out of ideological ideas, so we’d better get busy formulating something non-catastrophic to come next. In the first part of Can’t Get You Out Of My Head (Bloodshed on Wolf Mountain), there are several references to JFK, Jim Garrison and Kerry Thornley. Source: nme.com

Jim DiEugenio: In 1965, Kerry Thornley wrote a manuscript entitled Oswald which would be published as The Idle Warriors in 1991. This book shocks you when Thornely reveals the fact that E. Howard Hunt was stationed at Atsugi Air base at the same time Lee Harvey Oswald was there. Anybody can easily connect the dots of Oswald to the legendary CIA operative Hunt. Thornley also acknowledged there were many coincidences he was personally involved with and he may have been unwittingly manipulated by the conspirators. Some of the claims he makes in The Idle Warriors include numerous meetings in New Orleans with Gary Kirstein and Slim Brooks, who both–like Thornley–disliked Kennedy. Thornley clearly lied about not seeing Oswald in the summer of 1963 in New Orleans. And Garrison rightly indicted him for perjury before the grand jury. There is simply no way around this with the declassified evidence. Beyond that, two of the witnesses, Doris Dowell and Bernard Goldsmith, testified that Thornley had told them Oswald was not a communist. Thornley was used by the Warren Commission, perhaps more than any other witness, to paint Oswald as a communist. The new evidence states Thornley was so close to LHO that he actually visited him at his home. (Affidavit of Myrtle La Savia, who lived a block away) Once Thornley became a person of interest to Jim Garrison, he became protected by higher authorities. Thornley left for Florida, and according to records unearthed by Garrison's investigators, he owned two fancy houses, one in Tampa and another in Miami. Not bad for a guy who had worked as a waiter and a doorman. 

Kerry Thornley had moved to New Orleans in February of 1961, which coincided with the preparations in the Crescent City shifting into high gear over the upcoming Bay of Pigs invasion of Cuba. David Ferrie and Guy Banister were operating in places like Belle Chase naval air station and Banister’s office at 544 Camp Street. In fact, because of the ARRB, we first found out about the training grounds at Belle Chase from file releases in the nineties about Ferrie. He worked there as a trainer for the CIA, under the auspices of his friend Sergio Archada Smith, who worked for the CIA under State Department cover. With the move to the Crescent City, Thornley was now going to run into a group of people who also knew Oswald and they were associated with this anti-Castro, CIA associated movement. This group was called the Friends of Democratic Cuba (FDC). It was a shell company created by the CIA and FBI, “which involved the shipment and transportation of individuals and supplies in and out of Cuba.” The man who was supposed to be the recipient of this merchandise was Sergio Archada Smith. Members of the committee were Grady Durham and Bill Dalzell, the latter was a CIA operative and friend of Clay Shaw. Thornley himself admitted having shown his Oswald manuscript to Guy Banister in his introduction to The Idle Warriors. The Commission wanted Thornley to bring all drafts of his book The Idle Warriors with him. Thornley's main liaison with the Warren Commission was Albert Jenner. To me, in terms of sheer incrimination and character assassination of Lee Harvey Oswald, Thornley ranks with Ruth and Michael Paine, George DeMohrenschildt, and Carlos Bringuier. Thornley was very valuable by offering his portrayal of Oswald as a sociopathic Marxist. And he is duly quoted in the Warren Report in three damaging passages. 

In a memorandum Thornley wrote on October 24, 1967, he expresses trepidations about Jim Garrison. By letter, he now begins to dictate terms to Garrison. One of those terms ended up being he would only meet Garrison's assistant DA Andy Sciambra at NASA, which was the place where many of those who worked with Oswald at Reily Coffee Company had been later transferred. Apparently, coffee grinders make good aerospace designers. As he entered the establishment, Sciambra recalled thinking that, if someone like Thornley could command entry into such a place, then Garrison probably didn’t stand a chance in Hades of winning out. Obviously, Thornley did not just call NASA and say: I need a secure room to meet with an opposing attorney; put me next to a rocket silo, so he gets the message. No, not Thornley. Someone did that for him. Someone involved in protecting him.In one of the declassifications revealed by the ARRB, the CIA admitted that it ran something called a Cleared Attorneys Panel in major cities—one of them being New Orleans during the Garrison investigation. The existence of this panel was first exposed in a classified letter by attorney James Quaid to CIA Director Richard Helms on May 13, 1967. In that letter, which was declassified relatively early in the ARRB process, Quaid asked to be placed on the CIA’s preferred list of lawyers in New Orleans. As for his perjury, as shown above, there isn’t much that Thornley was not lying about, or at least equivocating upon. And it’s a shame that we had to wait until the ARRB to get the evidence. But yet, Thornley then admitted to both Doris Dowell and Bernard Goldsmith that he knew Oswald was not a communist. How can one explain such behavior? I believe it’s not explainable, unless we allow that Thornley was playing a role, his motivation being his almost pathological hatred of JFK, which David Lifton cannot bring himself to confront. In 1992 on the syndicated program A Current Affair, Thornley said, “I would have stood there with a rifle and pulled the trigger if I would have had the chance.” (Program of 2/25/92) Source: https://kennedysandking.com

Happy Saint Valentine Day, Palm Springs

Palm Springs (2020) #15 of the Best Romantic Comedies by Rotten Tomatoes. There have been so many riffs on the “Groundhog Day” formula that it can sometimes feel like the movies themselves are stuck in an endless time loop, but each subsequent iteration has tweaked the original in some way. “50 First Dates” stripped away the unexplainable metaphysics of it all for a romantic comedy mixed with Oliver Sacks's theories. “Edge of Tomorrow” added aliens and “Gears of War” cosplay to the mix. “Before I Fall” applied Harold Ramis’ concept to teen anxieties, “Happy Death Day” added a horror twist. And yet, despite “Groundhog Day” becoming a genre unto itself, Max Barbakow’s witty and wise “Palm Springs” is the first movie that doesn’t just apply that old formula to a new problem, but also fundamentally alters the basics of the equation. It’s a simple adjustment, and yet the difference feels as radical and transformative as pouring milk into a bowl of cereal. What if, instead of relegating one person to a cyclical purgatory they’re forced to repeat over and over until they learn the error of their ways, you relegated two people to the same pocket of the Twilight Zone? Imagine spending the rest of your meaningless existence with the same person. Imagine being stuck in a perpetually static purgatory where meaningful change can only be seen through the eyes of the other person suffering alongside you. 

But Nyles (Andy Samberg in one of his most realist performances) and Sarah (Cristin Milioti, a delightful force of comic impetus) aren’t married — they don’t even know each other — and the bleak desert wedding aisle is where they first meet. Nyles is there with his Instagram model girlfriend Misty (Meredith Hagner), who refuses him sex and cheats on him. But Misty isn’t the only reason why Nyles is depressed (“we’re all just lost” he mopes to anyone within earshot), or why Samberg exudes a disaffected Bill Murray vibe even before the premise reveals itself. That might have more to do with the fact that he’s woken up at this wedding a million times before, and he’s running out of ways to pass the time. The first masterstroke of Andy Siara’s relentlessly clever script is that it starts with its lead character already stranded in a limbo. Not that Sarah is up to speed. The older sister of the bride (Camila Mendes) and the black sheep of her family, Sarah is sick of herself even before she gets stuck. She doesn’t seem to be all that charmed by the super disaffected guy who wore a Hawaiian shirt to a fancy wedding, but the fact that Nyles doesn’t know her is a good enough reason to make out with him under the stars. 

The overarching plot of “Palm Springs” isn’t especially novel, but each scene is just sweet, funny, and demented enough to feel like a little surprise. Andy Siara’s script is delightful for how it beats you to the punch, running through all of the hilarious things Nyles might do to amuse himself in a deathless world (the brutally sarcastic way he says “I’ve never considered the multiverse”). But if Nyles has been stuck there long enough to have mastered every possible move, Sarah changes everything by introducing a code-breaking new variable. Something interesting I observed about the movie... do you even notice how an average romcom has little backstory about the female lead? And practically her whole point of existence in the movie is for the male lead to have a turning point? I felt a gender-reversal for that concept with this movie. We got to know so much about Sarah’s life and why she is the way she is. But we know little to nothing about Nyles life. The film cleverly makes that point right at the end when they are floating in the pool and he says “oh I have a dog, Fred, a Shaggy dog type.” The chemistry between Samberg and Milioti is off the charts and there is a sweetness in their relationship that is severely lacking these days. “Palm Springs” isn’t as magical whenever Nyles and Sarah aren’t together onscreen. If anything, “Palm Springs” has a smart pro-marriage message at a time when so many of today’s kids seem ready to relegate the very concept of marriage to “ok, boomer” status. 

On the other hand, the movie is so touching and sharp about the ideas it chooses to spotlight that — like a loving marriage — the joy it provides is more than enough to make up for the paths it doesn’t travel. Less weighty and immense than “Eternal Sunshine of the Spotless Mind,” but similarly concerned with the value of romantic partnership, “Palm Springs” offers a novel way to explore why the decision to share your life with someone can be more than just a band-aid placed atop a gaping wound of loneliness. Sure, “Groundhog Day” arrives at essentially the same place, but this winsome bauble of a movie is uniquely eager to embrace the idea that life isn’t quite as limitless as it seems. There are only so many things you can do in this world. As Nyles whines after we first meet him: “It’s always today.” And he’s right. But seeing your life reflected back at you through someone else’s eyes can make it that much easier to appreciate what happened yesterday, and look forward to tomorrow. In the original script, Siara clearly hints that Nyles's experimental tryst with his black friend Jeff is a prank.

EXT. DESERT TACO STAND - DAY

NYLES: (he laughs) It turns out I’m not really into dudes.

Nyles gathers their burrito wrappers and tosses each of them over his shoulder across the patio, directly into the trash. Source: www.indiewire.com

Oliver Stone's JFK: Destiny Betrayed will debut on Cannes Film Festival, Sons of Camelot (JFK Jr.)

Oliver Stone has confirmed to have finished a documentary on the assassination of John Fitzgerald Kennedy, which will premiere at the 2021 Cannes film festival (July 6—July 17). His groundbreaking JFK film (206 minutes in his director's cut), took the form of a fascinating labyrinth on a crucial event of the twentieth century, whose ramifications are still mysterious for many people. Clifford Krauss reported in the New York Times that members of the Kennedy family had supported Stone's movie JFK. Obviously, Oliver Stone is not done with this subject, since he filmed a new documentary on JFK and the inaccuracies of the Warren report. Stone also specified that “JFK: Destiny Betrayed” (his new documentary) is estimated to last four hours. Stone explained he is having a hard time finding a distributor. Both Netflix and National Geographic turned down the documentary as a result of unapproved fact checks. “Where are you going to find this information except in this film?” Stone questioned. “If they do a fact check, according to conventional sources, of course it’ll come out like it doesn't fit to the official facts. It’s about real facts that are very shocking to people.” Nevertheless, the filmmaker also explained that his project will see the light this summer: “Cannes invited us for July this year. This is a big step for us because at least if we are not recognized in America, it will be recognized internationally. Where are you going to find such information except in the film? If they verified the facts, agreeing with conventional sources, of course the film is going to be considered incorrect. How can you prove this to be true? It is very, very difficult.” Suffice to say that with such comments, we are even more curious to see this new film by Oliver Stone, who has not signed a feature film since Snowden in 2016. AGC, the TV production-distribution division of Stuart Ford’s AGC Studios, is considering to acquire the rights of Stone's documentary. 

In this new doc-series, Oliver Stone and writer James DiEugenio, author of “Destiny Betrayed: JFK, Cuba, and the Garrison Case,” place now declassified files related to President Kennedy’s assassination in a far larger context, aiming to shine more light on what really happened in 1963. Coming in on the assassination from the angle of Kennedy’s far-reaching policy speeches that threatened the status-quo, Stone will “reveal that Kennedy’s foreign policy actions were revolutionary in many ways and were a conscious decision he had been contemplating for a decade before taking office,” said an AGC executive. “Stone will put Kennedy’s assassination in context politically, and present interviews, documents, and forensics reports that will change forever how Kennedy’s life, political career, and assassination will be considered.” Those interviewed in the series include John Tunheim, chairman of the Assassination Records Review Board, criminologist Henry Lee, Robert F. Kennedy, Jr., James Galbraith, and Salon founder David Talbot (author of Brothers: The Hidden History of the Kennedy Years and The Devil's Chessboard: Allen Dulles, the CIA, and the Rise of America's Secret Government). “It’s not an exaggeration to state that this series will feature the most distinguished collection of talent and knowledge on the JFK case ever assembled,” said Talbot. Stone added: “This documentary film represents an important bookend to my 1991 film. It ties up many loose threads, and hopefully repudiates much of the ignorance around the case and the movie.” “JFK: Destiny Betrayed” reunites Stone with ace cinematographer Robert Richardson (“Once Upon a Time…in Hollywood,” “Nixon,” “The Aviator”), who won the first of his three Academy Awards for “JFK.” 

Oliver Stone: “There’s no chain of custody on the magic bullet, which is called CE-399. There’s also no chain of custody on this damn rifle, the Mannlicher-Carcano, which Lee Harvey Oswald was accused of shooting. I don’t want to go into the details, but we can’t account for who was in possession of the bullets and the rifle at various times. It’s a mess. Then we got more detail than ever showing that there was a huge back-of-the-head wound in Kennedy, which clearly indicates a shot from the front. It’s also clear that the autopsy from Bethesda was completely fraudulent. And there’s Vietnam. No historian can now honestly say that the Vietnam War was Kennedy’s child. That’s crucial. The last thing is the C.I.A. connection to Oswald. We have a stronger case, not only for post-Russia but also for pre-Russia. In other words, he was working with the C.I.A. before he went and when he came back. Those are the main points. Those who are interested will find it’s pretty clear that J.F.K. was murdered by forces that were powerful in our government. We point the finger at a couple of individuals. But I don’t want to get into that here. Now, why do I have to do this? I’m doing the documentary for the record so that you can see for yourself what the evidence is. That’s all. Eventually it will be out. Even if it’s on YouTube”. Source: variety.com

“John F. Kennedy Jr. considered himself a crusader in the tradition of his father JFK and uncle Robert Kennedy, for equal justice for minorities and the poor,” journalist Leon Wagner claims. “John was outraged by the idea that the people who had the least ability to defend themselves would be most vulnerable thanks to Joe Biden’s 1994 crime bill, and he called Biden 'a traitor'.” At age 39, John Jr had made up his mind to launch his political career by seeking an electoral mandate in New York State, and he was about to announce it publicly. He had also expressed to his friends his ambition to ultimately reach for the presidency. Given his personality and his popularity, he had high chances to make it in less than 20 years. He might realistically have become U.S. president in 2008 or 2016. Brought up in the worship of his father, John Jr had taken a keen interest in “conspiracy theories” about his death at least since his late teens. His knowledge deepened in his thirties, made him aware of State and media cover-ups in other affairs, and motivated him to publish, eight months before his death, a cover article by Oliver Stone, director of the groundbreaking film JFK, titled “Our Counterfeit History”. Pierre Salinger believed JFK Jr. would have run for president in 2000. “There seemed little doubt in the minds of those who knew him that John was on the brink of a bright political future. He was probably a more natural politician than any of the other Kennedys," historian David Halberstam said, “and that includes his father. John had all the makings of a political superstar.’” 

Laurence Leamer (author of The Kennedy Men and Sons of Camelot) said in an interview for FOX News, 2004: “John Kennedy Jr was very serious about running for the Senate. In fact, he'd talked to Roger Ailes (FOX CEO) about his political plans. And Roger Ailes, who's a great political expert, said that he thought that John had a big chance of becoming senator in New York. So he was hoping to run for it. But he was very upset with Hillary Clinton. Despite the Kennedy myth, I don't think John Kennedy Jr was so liberal. I think so many people associated him to be so far in leaning to the left. But he was a centrist Democrat, and he wanted to do his campaign the right way. When his cousin, Patrick Kennedy, ran for the state legislature in Rhode Island when he was 21 years old, all of the Kennedy money came there to get this young man into office. On election day, John was there at one of the polling places and a photographer took some Polaroids of his cousin. An incumbent came in and John went up to him and said, "You know, this is not the way this should be done. This is not the way you should win an election." So John wanted to wait until he was ready to win an election because he really cared about doing the right way and was going to come out and ask for people's votes in the right way. John was sharp as a tack and not easily fooled. He had his father’s gift of being able to ask just the right questions. There were some early polls which indicated he would have done quite well had he run. Actually John was ahead of Hillary, but he was just too much of a gentleman. In fact, that was one of his problems. He just was too nice. I mean Hillary came in, she was the carpetbagger. He should have gone into that race and would have won. But today, you aren't going to win an election because you're a Kennedy. In fact, you know, in the last couple of elections, the young Kennedys have lost the Senate. They all have lost. So the Kennedy name is not enough anymore, that's for sure. Why are we still so fascinated with the Kennedys themselves? Because the drama is just so overwhelming. It's the ultimate immigrant drama. It's the American story to the Ninth degree. The promise they had when we think of JFK. And he was a symbol, we remember when JFK died and then there was such closure with his son dying so young and promising. It really was the beginning of Camelot with JFK and Jackie. What we have witnessed it's essentially the end of that romantic idea with the death of John Kennedy Jr.” Source: www.foxnews.com